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Melodrama and Asian Cinema

Overview

Cinema is a dominant force in the lives of many people living in Asia, a continent that has a number of distinguished national film industries. A concept central to much of Asian film production is melodrama. This path-breaking study examines the importance of melodrama in the film traditions of Japan, India, China, Indonesia, the Philippines, and Australia. Exploring with theoretical sophistication the various ways that melodrama operates, the essays contained in this volume shed light on the different ...
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Overview

Cinema is a dominant force in the lives of many people living in Asia, a continent that has a number of distinguished national film industries. A concept central to much of Asian film production is melodrama. This path-breaking study examines the importance of melodrama in the film traditions of Japan, India, China, Indonesia, the Philippines, and Australia. Exploring with theoretical sophistication the various ways that melodrama operates, the essays contained in this volume shed light on the different traditions of Asian cinema, as well as on the wider cultural discourse in which they participate.
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Editorial Reviews

From the Publisher
"This book should be required reading for any student or scholar in film or cultural studies." Journal of Communication

"...the book is a welcome addition to the still scarce library on Asian cinema in English and may provide a source of inspiration for those interested in either melodrama or Asian Cinema." Yang Ye, Journal of Developing Societies

"The essays in Wimal Dissanayake's volume illustrate the importance of melodrama to Chinese film studies. Informed by multiple theoretical models, they offer many interesting...readings of Chinese films." Bulletin of Concerned Asian Scholars

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Product Details

  • ISBN-13: 9780521414654
  • Publisher: Cambridge University Press
  • Publication date: 1/28/2002
  • Series: Cambridge Studies in Film Series
  • Pages: 296
  • Product dimensions: 5.98 (w) x 8.98 (h) x 0.83 (d)

Table of Contents

List of contributors
Acknowledgments
I Introduction 1
II Melodrama / subjectivity / ideology: Western melodrama theories and their relevance to recent Chinese cinema 9
III Symbolic representation and symbolic violence: Chinese family melodrama of the early 1980s 29
IV The Goddess: Reflections on melodrama East and West 59
V Melodrama as historical understanding: The making and unmaking of communist history 73
VI Melodrama, postmodernism, and Japanese cinema 101
VII Inscribing the subject: The melodramatization of gender in An Actor's Revenge 127
VIII Insides and outsides: Cross-cultural criticism and Japanese film melodrama 143
IX Psyches, ideologies, and melodrama: The United States and Japan 155
X Negotiating the transition to capitalism: The case of Andaz 179
XI The concepts of evil and social order in Indian melodrama: An evolving dialectic 189
XII Politics of melodrama in Indonesian cinema 205
XIII Power, pleasure, and desire: The female body in Filipino melodrama 218
XIV The register of nightmare: Melodrama as it disappears in Australian film 232
XV Overview: What is American about film study in America? 254
Index 279
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